Logic is, as always, well-intentioned and likable on YSIV, but his music remains middle-of-the-road.
Kero Kero Bonito make their Polyvinyl debut with a pretty radical departure from the signature sound cemented on Bonito Generation. Thankfully, Time ‘n’ Place is every bit as good as that album.
Among Tim Hecker’s least direct efforts, Konoyo at its best is sonically and conceptually rich thanks to contributions from gagaku ensemble Tokyo Gakuso. Unfortunately, the sound-play is lacking on a few of the pieces.
Lil Wayne is in rare form on the best parts of his fifth installment of the Carter series, but bogs this album’s full potential down in a number of underwhelming cuts too.
Despite its slightly cumbersome 100-minute runtime and spotty concept, DROGAS Wave is a surprisingly solid addition to this phase of Lupe Fiasco’s career.
A round-up of the greatest albums Anthony reviewed over this past month.
JMSN’s new album doesn’t reinvent the soul and R&B wheels, but but does show a deep appreciation for the genres’ aesthetics and has quality production and songwriting in spades.
While it’s certainly pleasant and stands out in the current mainstream music landscape, Hozier’s latest EP doesn’t offer much that indie songwriters and folk artists haven’t done better in the past couple of decades.
Abstract hip hop fans ought to give budding ornithologists a shot, even if it isn’t one of Milo’s standout albums.
The all-American boyband makes its major label debut with an album that shows emotional and creative maturation despite occasionally gimmicky production and some members getting outshined by others.
